Different but the Same: Landscape and the Gothic as Transnational Story Space in Jane Campion's Sweetie (1989) and Lucrecia Martel's La Cienaga (2001)

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Accepted Manuscript (AM)
Author(s)
McVeigh, Kathryn
Griffith University Author(s)
Year published
2018
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This paper considers the work of the Argentinian film-maker Lucrecia Martel and the Australian film-maker Jane Campion in a transnational context. In doing so, it focuses on landscape and the elements of the Gothic in their work to explore notions of universal cinematic storytelling that are essential to the exploration of the transnational film. Transnational film theory directs the focus away from the national cinema paradigm towards a more expansive cinema in which locally specific stories reach global audiences. Lucrecia Martel’s La Ciénaga (The Swamp) (2001) has been discussed through the lens of feminist film, social ...
View more >This paper considers the work of the Argentinian film-maker Lucrecia Martel and the Australian film-maker Jane Campion in a transnational context. In doing so, it focuses on landscape and the elements of the Gothic in their work to explore notions of universal cinematic storytelling that are essential to the exploration of the transnational film. Transnational film theory directs the focus away from the national cinema paradigm towards a more expansive cinema in which locally specific stories reach global audiences. Lucrecia Martel’s La Ciénaga (The Swamp) (2001) has been discussed through the lens of feminist film, social and cultural history, and as a site for the exploration of class and ethnicity. Jane Campion’s Sweetie (1989) has been discussed in terms of mise en scène and female space, the suburban, and insights into national identity and the Gothic and postcolonial. This paper considers intersections in these works and the film-makers' deployment of the narrative and formal elements of film in a universal storytelling context informed by landscape and the Gothic, making their films both locally specific and globally relevant.
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View more >This paper considers the work of the Argentinian film-maker Lucrecia Martel and the Australian film-maker Jane Campion in a transnational context. In doing so, it focuses on landscape and the elements of the Gothic in their work to explore notions of universal cinematic storytelling that are essential to the exploration of the transnational film. Transnational film theory directs the focus away from the national cinema paradigm towards a more expansive cinema in which locally specific stories reach global audiences. Lucrecia Martel’s La Ciénaga (The Swamp) (2001) has been discussed through the lens of feminist film, social and cultural history, and as a site for the exploration of class and ethnicity. Jane Campion’s Sweetie (1989) has been discussed in terms of mise en scène and female space, the suburban, and insights into national identity and the Gothic and postcolonial. This paper considers intersections in these works and the film-makers' deployment of the narrative and formal elements of film in a universal storytelling context informed by landscape and the Gothic, making their films both locally specific and globally relevant.
View less >
Journal Title
Critical Arts
Volume
31
Issue
5
Copyright Statement
This is an Author's Accepted Manuscript of an article published in Critical Arts, 31 (5), pp. 142-155, 05 Feb 2018, copyright Taylor & Francis, available online at: https://doi.org/10.1080/02560046.2017.1401102
Subject
Cinema Studies
Film, Television and Digital Media
Communication and Media Studies
Cultural Studies